It’s as sublime and timeless as any of this composer’s music, a style illuminated in all these performances by a combination of Latvian and Estonian choirs and chamber orchestras under Tõnu Kaljuste. There’s an uncharacteristic fullness about Adam’s lament, rich and resonant in the enchanting opening bars.Ken Walton, The Scotsman

Economy is key here: Nothing more than necessary is said. Often a wandering line suffices, always coloured with great delicacy by Kashkahsian; harmony, when evoked, is spare and purposeful. Kashkashian excels at fine modulations of unconventional tone, such as the distored barking sounds (produced by playing at the bridge of the instrument) of the playfully titled ‘Kromatikos feleselõs’ (‘Chromatically saucy’), eerily contrasted with ‘Virág Zsigmondy Dénesnek’ (‘A Flower for Dénes Zsigmondy’) wose distant groans waft in and out of audibility. She is an ideal guide to this sinister and lonely territory...Andrew Morris, International Record Review

Kashkashian’s playing is wonderfully concentrated, and she shines, too, in György Ligeti’s substantial late Sonata for Viola Solo (1991-94), a piece inspired by the viola playing of Tabea Zimmermann that sounds at once old and new.Michael Dervan, The Irish Times

It’s an impassioned and fiercely improvisational collection of variations on powerful themes by all three, touching on Haden’s Liberation Music Orchestra repertoire and Garbarek’s free-jazz history. It also showcases Gismonti as a lyrical and abstract-effects guitarist, an inspired composer and a resourceful, Jarretish pianist.John Fordham, The Guardian

The trio might seem an unlikely one: the American bassist Charlie Haden, Nordic jazz-folk saxophonist Jan Garbarek, and the Brazilian spark of Egberto Gismonti on guitar and piano. But they gel perfectly as they explore tunes mostly from their two studio sets. Garbarek in particular, has rarely sounded better.John Bungey, The Times

There is a lot of lovely new music here, from the gentle brush-driven ‘Loving You’ (strong piano solo from Watson), the rolling funk of ‘Walking By Your Side’ (Molvaer creating layer upon looping layer of his rich trumpet sounds, and rich, fruity tenor over the Hammond), to the three-way trumpet/tenor/organ harmony of ‘Short Ride’ and the hooky melody of the eight-minute plus ‘Beats & Bounce’ (the title says a lot). Their joys lie not primarily in jazz solos – nice though they are- but in the combinations of timbres over catchy grooves, and the drummer seems to have a bottomless pit of both timbral and rhythmic ideas.
It’s a measure of Katché’s strength of personal style, both in is playing and composing, that despite changing the personnel with each album, he has created a a really cohesive body of work in his four ECM releases. This is a fine addition to the other three.Peter Bacon, The Jazz Breakfast

Jazzim is delighted by the magnificent interplay of Keith Jarrett and Jan Garbarek on Sleeper by Keith Jarrett/Jan Garbarek/Palle Danielsson/Jon Christensen